A Love Supreme John Coltrane Pdf Files

A-love-supreme.pdf - Download as PDF File (.pdf), Text File (.txt) or read online. John Coltrane (tenor saxophone); McCoy Tyner (piano); Jimmy Garrison. Feb 27, 2017 - Jimmy Garrison's bass line on »Acknowledgement« from the 1964 John Coltrane album »A Love Supreme«, Music Publisher 5 file by the.

A successful recording generally entertains and communicates passion on an earthly, mortal level. We typically respond to an effective performance by humming the melody, tapping our feet, and sharing it with friends. It might even “stomp the blues,” as the critic Albert Murray suggests. Few recordings, however, actually challenge a listener to address one’s personal essence. “If you look at the book ( A Love Supreme: The Story of John Coltrane’s Signature Album),” author Ashley Kahn tells us in our interview, ” it starts and it ends with me talking about myself and how A Love Supreme forces me to talk about my own spirituality. There is no way to avoid it. Biss klyuchi na 85 gradus.

If you are going to be an open and honest listener, and allow this music to enter you — which was (John) Coltrane’s intent — you have to be willing to speak about yourself.” The impact of A Love Supreme on two generations of listeners led Kahn to report on its history and cultural significance. His previous book, Kind of Blue: The Making of the Miles Davis Masterpiece, is an original, entertaining, and justifiably acclaimed exploration of Davis’ classic 1959 session. It can be considered a best seller by previous standards of books on jazz, and a cult classic on a wider scale. At the core of A Love Supreme: The Story of John Coltrane’s Signature Album is Coltrane, the legendary saxophonist whose fame was secured as a result of his participation in Davis’ group that recorded Kind of Blue. Coltrane’s path to the recording of A Love Supreme was carved by his rebirth from years of drug abuse, his historic 1957 Five Spot appearances with pianist Thelonious Monk, his work with Davis, and the subsequent formation of his classic Quartet — all of which resulted in intense creative growth that expanded jazz music’s emotional and spiritual boundaries. Kahn’s book is a rewarding tribute to an album and its creator, whose best work continues to challenge listeners to reach well beyond their safest star Interview hosted by Jerry Jazz Musician publisher Joe Maita.

__________________ photo by Chuck Stewart * Listen to Coltrane play from _____________________ JJM What was your own first experience with A Love Supreme? AK I was in the 15 year old expansive mode of wanting to explore music, starting from a rock and roll background. One of my source points for music at the time was a used record store in Cincinnati called Mole’s.

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For no reason other than that I picked the album up, the clerk there, who also had a blues show on the local arts station in Cincinnati, insisted that I buy A Love Supreme. He was not going to take no for an answer!

$2.25 later and I had it. I still have that album with the $2.25 in the corner. It took a couple of years for it to sort of penetrate, but at least I had it there. JJM Do you remember when you first played it, was it something you found immediately listenable, or did it take some time to get into? AK I found the piece to be very long. I found myself trying to find the hook or the melody or the “cool hipness” to it that I had been familiar with in the Miles Davis LP’s I had at that point. I was not able to find an immediate doorway into it.

JJM How did the experience of researching this book differ from the book you wrote on Miles Davis’ Kind of Blue? AK Because of Kind of Blue: The Making of the Miles Davis Masterpiece, a lot more doors were open, and they opened up a lot sooner.

I had easier access to different people, archives, photos, etc. It helped that I had approached and shaped a project like this before. But I was also very aware that I didn’t want it to be a cookie cutter thing, that the story of A Love Supreme — the music and John Coltrane’s own story — should have its own shape and form. The fact that Coltrane died only two-and-a-half years after recording A Love Supreme also meant that the book should include more of Coltrane’s biography. As it turned out, A Love Supreme really was a watershed for him. Consider that the two A Love Supreme sessions that he did — one with his quartet and one with a sextet — in a way points back to where he was that day with the classic quartet, and forward to 1965, when he would explode creatively, changing sidemen as well as his approach to rhythm and non-chordal music.